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12 WWW.UNWLA.ORG “НАШЕ ЖИТТЯ”, БЕРЕЗЕНЬ 2016 Exhibit curator Myroslava Mudrak with author Natalka Sonevytsky (left) and UNWLA Vice President for Culture So- phia Hewryk (right). AVANT-GARDE UKRAINIAN MUSEUM CATALOGUE RECEIVES A PRESTIGIOUS AWARD by Natalka Sonevytsky In 2015 the Ukrainian Museum in New York held the first of its kind comprehensive exhibit of avant- garde artists who shaped the early 20th century Ukrainian theatre and impacted the theatrical world stage. Titled Staging the Ukrainian Avant-Garde of the 1910s and 1920s , the exhibition was organized and assembled by Myroslava Mudrak, professor emerita of Ohio State University, and Tetiana Rudenko, chief curator of the Museum of Theater, Music, and Cinema of Ukraine in Kyiv. Widely consid- ered innovative and pioneering, the exhibi- tion enjoyed great popularity with visitors and was critically acclaimed by the press. It was also filmed by Raphael Pi Romano of PBS station Channel 13 and aired several times on the NYC-Arts news segment as well as on WLIW21. At its 104th annual conference, held in Washington, D.C., February 3-6, 2016, the College Art Association (CAA), the preemi- nent international organization in the visual arts, bestowed its prestigious Alfred H. Barr Award upon the curators of the Catalogue. The members of the jury were distinguished professionals from Boston Athenaeum, the Princeton University Art Museum, the Hou- ston Museum of Fine Arts, and the Metropol- itan Museum in New York. The text of the citation from the awards program reads: Myroslava M. Mudrak and Tetiana Rudenko have edited a publication that represents the essence of what the Barr award is intended to celebrate: solid, pioneering re- search that results in profound art historical revelation. That this scholarship is brought to bear on an understudied, indeed, almost overlooked chapter of European Modernism—at least in Europe and the United States—makes their publication doubly revelatory. What they and the other contributors' scholarship on the Ukrainian avant-garde of the first decades of the twentieth century make clear is that these artists, filmmakers, dancers, scenographers theatre directors and costume designers deserve to be considered alongside their better known counterparts in the Paris and Russian avant-gardes. Staging the Ukrainian Avant-Garde stands as a model of the rich insights to be gained from the interdisciplinary, cross media investigations that are grounded in the study of primary documents and concrete social history. As the applause of several hundred experts in the arts reverberated in the hall, Prof. Mudrak ac- cepted the award from Ms. Olia Ivanov, the cultural attaché of the Ukrainian Consulate, in the presence of the president of CAA. This writer was bursting with genuine pride for the curators, the Ukrainian Mu- seum, and the community it serves. While at the CAA conference I also attended two program sessions at which two Ukrainian art professionals presented their papers: Svitlana Shiells of George Mason University on Gustaf Klimt and Ito Yakuchu and Nazar Kozak of the National Academy of Sciences of Ukraine on Refugee Artists and the Ukrainian Crisis . Both papers were stimulating and well received. The Ukrainian presence at the CAA Conference was extensive and highly visible. The exhibit and sale of the Ukrainian Museum’s publications, participation in the session, and especially being chosen to receive the Barr Award was a great honor and achievement, not only for the UM but also for the Ukrainian community in general.
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